Feedback As for that aforementioned SHOOT survey, a series of questions were posed to women who have established themselves in different sectors of our industry. The feedback comes from strong voices articulating thoughts on the state of women in business today as well as personal reflections and observations.
Here is the full list of questions posed:
Professional:• Do you own the company? If so, what year did you launch it? • If your business model has changed over time, please briefly tell us about it. • How did you get your start in the business? • What was the biggest challenge or obstacle you faced as you made your ascent in the industry?
Opinion: • What do you think would be the biggest challenge or obstacle if you were just starting out today? Would it be easier or more difficult (and why?) to establish yourself professionally and to attain your current role as an executive or leading creative or artist? • Is there a shortage of women in the advertising and entertainment production community? If so, do you perceive this as a problem and why? • And if so, how can the industry improve the situation? What steps can be taken to rectify such a shortage? • In what roles is the shortage most profound? Directors? Producers? Executives? Creatives? DPs? Editors? Post artisans? Music/sound?
Personal: • Are you married? • Do you have kids – how many, how old? • Can you share a poignant or funny “being a woman in a man’s world” story with us. • What’s the biggest challenge in balancing your professional and personal life? • If you could have a do-over, what career would you pick for yourself? • We all hope to retire some day. What do you want to do in retirement/where would you live?
Here’s a full rundown of what survey respondents shared:
Bonnie Goldfarb, co-founder/executive producer, harvest films, inc.Primary business: Commercial production
1. Do you own the company? If so, what year did you launch it? Co-owner. 2001
2. How did you get your start in the business? I began as a receptionist for Richard Goldstone Productions on Melrose Ave. Steven Monkarsh was the executive producer. The Film Consortium, Elite Films and GMS followed on a long journey to present. I really am living the American Dream.
3. What was the biggest challenge or obstacle you faced as you made your ascent in the industry? Getting pregnant and hiding it the first six months because I thought I’d be out of a job as a freelance line producer.
4. What do you think would be the biggest challenge or obstacle if you were just starting out today? Would it be easier or more difficult (and why?) to establish yourself professionally and to attain your current role as an executive or leading creative or artist? I think our business is flourishing with new talent in all fields and we’ve attracted more artists and entrepreneurs than ever before. Agency creatives coming out of school with degrees and portfolios and production talent are so focused today. Advertising once was a place where people in production wanted to transition to features or on the agency side, creatives just “fell into” it. Overall, people starting out today seem to have a laser focus on where they want to go. And the account side is full of MBA’s from swanky schools. When I started out, we just sort of went with it and nobody got out of school with specific ad degrees; we grew by experience and that experience guided us into different directions.
5. Is there a shortage of women in the advertising and entertainment production community? If so, do you perceive this as a problem and why? No, but I’ve never thought of man vs. woman. I did notice early on that women were make-up artists, script supervisors, wardrobe stylists, line producers, production supervisors and 2nd A.D.s. It was rare to work with a female first A.D., Key Grip or First A.C. and today it’s not that much different. I do believe (the glass is half full) that if anyone wanted to pursue a role in our business they could do it, man or woman.
6. Do you have kids – how many, how old? I have two boys, 18 and 19.
7. Can you share a poignant or funny “being a woman in a man’s world” story with us. I was a First A.D. on a shoot with the late Paul Giraud from HSI. We were shooting a car commercial along the Oregon Coast and I found myself barreling down Highway One on a camera car with a moving lock down and rain effects hitting our hero car. It was grueling and when we got off the camera car, I knew I had to stay close to our director and not lose sight of him so I knew where the next shot needed to be set up. He started hiking up the side of a mountain and like a good First A.D., I followed close and quiet behind him thinking he was searching for a camera position. When we arrived at the top of the peak, Paul turned around and stared at me and said in his South African accent, “Bonnie, I just need to take a fuckin’ piss.” I was really embarrassed and headed back down the mountain.
8. What’s the biggest challenge in balancing your professional and personal life? Our business is harsh on balancing anything. There’s just no was around it; it’s the nature of what we do. We learn to work hard and play hard and there’s nothing balanced about it. Throw in kids and aging parents and it’ll give you a run for your money.
9. If you could have a do-over, what career would you pick for yourself? I would not trade in my career for anything and I have lived every day loving what I do. I have bad days and bad weeks but it’s not because I don’t love what we do, it’s just that life can be overwhelming and there’s an enormous amount of things to juggle with kids, families, businesses…
10. We all hope to retire some day. What do you want to do in retirement/where would you live? I can’t even process that question today. Hmmmmm. Hanalei Bay seems kinds nice; I’ll have to check with Austin McCann and Gary Feil and get back to you!
Jennifer Golub, executive director of content, Let There Be DragonsPrimary Business: Content Development
1. Do you own the company? If so, what year did you launch it? I do not own the company but lead it. I launched this past year and have invented a model for entrepreneurship and ownership.
2. How did you get your start in the business? I was an intern in high school at an advertising agency and worked as a switchboard operator at a production company throughout college.
3. What was the biggest challenge or obstacle you faced as you made your ascent in the industry? Mediocrity is the obstacle. Although we are in a team sport, to craft something truly special requires a degree of autonomy to find the clarity of voice.
4. What do you think would be the biggest challenge or obstacle if you were just starting out today? Would it be easier or more difficult (and why?) to establish yourself professionally and to attain your current role as an executive or leading creative or artist? I don’t think the rules have really changed. At the end of the day one has to put in the most time, be the most inquisitive and persistent on behalf of excellence. One ascends when the quality of the work is undeniable.
5. Is there a shortage of women in the advertising and entertainment production community? If so, do you perceive this as a problem and why? There isn’t a shortage of women, in our industry–in fact, they are doing much of the heavy lifting. However there is a clear shortage of leadership, executive and equity positions. I think the “glass ceiling” is more pervasive in our industry than just about all others.
6. And if so, how can the industry improve the situation? What steps can be taken to rectify such a shortage? Agencies need to initiate a culture of intentional mentorship. providing training to women to help develop a full skill set of expertise. Meanwhile, women in leadership positions need to hire, train, advocate and actively sponsor women in the agencies and the production community.
7. In what roles is the shortage most profound? Directors? Producers? Executives? Creatives? DPs? Editors? Post artisans? Music/sound? It is shocking how few women film directors there are. The percentages for women with distinguished careers are better among architects, professional artists, heads of industry and political leadership.
8. Are you married? I am independent.
9. Do you have kids – how many, how old? I am the proud parent of a truly lovely teenage daughter who is an aesthete; an insightful, talented artist with a vibrant spirit. (but hopefully will be a doctor…. )
10. Can you share a poignant or funny “being a woman in a man’s world” story with us. Recently I worked with a famous architect. Upon introduction, he was sharing a model for a new project to me and my team, but was unconsciously addressing the guys in the room. At another time in my life I would have been offended. Eventually I stepped in, smiled and suggested that we get to work. Surprisingly, pre-conceptions are still prevalent, but fortunately ability wins the day.
11. What’s the biggest challenge in balancing your professional and personal life? Production and parenting is really tough to reconcile. You miss poignant moments and it is heartbreaking. On the flip side, you ensure your time is meaningfully spent both at home and at the workplace. One can argue that professional mothers work most effectively as their focus and time management is all the more acute. The biggest challenge is taking care of oneself. Having grace in a partnership or support system is key.
12. If you could have a do-over, what career would you pick for yourself I wouldn’t have picked a different career, but I might have started my own business. I believe strongly in entrepreneurism and advise all women, regardless of their craft to develop their business acumen. Women need to know about money. They need to learn about investing. Real estate, 401k’s, stocks, salaries, bonuses, contracts. They can learn from each other, consultants, and importantly, men.
13. We all hope to retire some day. What do you want to do in retirement/where would you live? I will always be making things. That is my joy. Home has never been one place for me and I feel at home in many places. It is about the company. Where my daughter is. Family, friends, artists, my dogs. I am equally comfortable in Northern California, Los Angeles, New York and Europe. I imagine my future as it has always been. A blend.
Samantha Hart, CCO/president, Foundation ContentPrimary Business: Indie advertising collective
1. Do you own the company? If so, what year did you launch it? Yes. 2004
2. If your business model has changed over time, please briefly tell us about it. I began Foundation in 2004 with well respected editor James Lipetzky, with the idea of combining the strength of his editorial client base with my eclectic entertainment background. We recognized that the advertising industry would be going through great changes ahead and saw that our distinctly different backgrounds could give us an advantage in understanding how we could adapt to the changing landscape.
3. How did you get your start in the business? I got an opportunity to answer phones in Neil Diamond’s publishing office.
4. What was the biggest challenge or obstacle you faced as you made your ascent in the industry? Convincing the then president of Geffen Records to keep the penis on the baby of Nirvana’s first album cover–or maybe it was trying to convince the director and management that running ads that said WHO IS KEYSER SOZE? might really help the Usual Suspects gain an audience. In hindsight, it’s hard to imagine either of those projects turning out any differently–but at the time I really had to fight for what I believed in.
5. What do you think would be the biggest challenge or obstacle if you were just starting out today? Would it be easier or more difficult (and why?) to establish yourself professionally and to attain your current role as an executive or leading creative or artist? I think that perhaps spurred on by the recession–you know, the struggles in the economy–people are clinging much harder to their little piece of the pie be it at a reception desk or an executive desk. But I think it’s vital for everyone to mentor. To give back. To play a part in not only your own legacy but to contribute at least a small part to someone else’s. Mentoring is a powerful way of not only contributiing to the vitality of your company but also to yourself.
6. Is there a shortage of women in the advertising and entertainment production community? If so, do you perceive this as a problem and why? I just attended the 3 per cent conference in San Francisco. It was a wonderful conference put on by Kat Gordon, and I applaud her efforts. But for me, after the first inspiring speech by Cindy Gallop, I was left a bit–well bored. I felt there was just a tad too much whining going on. Mind you, I am not an expert in advertising industry. I have only played the role of “vendor” in this industry. But before that I held senior posts in the record industry as well as the movie industry–and yes, there probably are more men in those industries just like it was presented there are in advertising. I can’t speak specifically to the statistics. But I can speak to the fact that I worked at Geffen Records in the hey day of Guns ‘N Roses, Nirvana and Aerosmith (all very boy bands) while I was the single parent of a little five-year-old girl. However, at Geffen Records, I was given the opportunity to pursue a packaging design I came up with, patent it and take it to market. Yes, it was predominantly men working there, but I never felt disenfranchised because I was a woman. I felt empowered that I always had access to “the third floor” which meant to Mr. Geffen himself–and that definitely came from the culture he created.
7. And if so, how can the industry improve the situation? What steps can be taken to rectify such a shortage? Women need to realize that just because we want it all–i.e. great big job, kids, cool husband (or wife) doesn’t mean we can’t have it. But we do need to raise the bar for ourselves. That’s what our sisters in the “suffrages” era did–isn’t it? Women can vote. And women’s votes matter. Now maybe more than ever–in politics, in entertainment and certainly in advertising. I say seize the day girls–while we can!!!
8. In what roles is the shortage most profound? Directors? Producers? Executives? Creatives? DPs? Editors? Post artisans? Music/sound? I have no idea. I meet women who blow me away every day. For every man I meet who blows me away, I meet at least one woman who does the same.
9. Are you married? Yes.
10. Do you have kids – how many, how old? I have three children. Vignette Noelle 28, Davis James, 8 and Denham Charles 8.
11. Can you share a poignant or funny “being a woman in a man’s world” story with us. No. Because I don’t believe it’s a man’s world. I can share thousands of funny stories. But I think you might have to wait for my book!
12. What’s the biggest challenge in balancing your professional and personal life? Having enough time left over at the end of the day to learn the game “minecraft” with my boys. It quickly turns into “mind craft” where all I’m doing is thinking about work stuff. I wish I could shut my brain down when I’m with my kids.
13. If you could have a do-over, what career would you pick for yourself? Interior decorator. I was always rearranging furniture from the time I was five years old!! My mother could never understand how I could move big Victorian pieces of furniture from room to room in the big farm house I grew up in. I have had a chance to apply some of my interior design sense to our offices in Chicago and LA and that has filled that void. I remember one time I graffittied my office at Geffen Records. Yes, interior designer.
14. We all hope to retire some day. What do you want to do in retirement/where would you live? In the present.
Phyllis Koenig, owner/executive producer, ๏ฟฝber ContentPrimary business: ๏ฟฝber Content is a film, commercial and original content production company which represents a diverse roster of directors who create a variety of films, from traditional broadcast commercials to fully integrated branded content, original web series, shorts, documentary and feature films.
1. Do you own the company? If so, what year did you launch it? Yes, with one partner, Preston Lee. He and I are the sole owners of ๏ฟฝber. January 2006
3. If your business model has changed over time, please briefly tell us about it. Very much so. When we first launched, there was much confusion around the notion of integrated and branded content, clients reaching out and soliciting directly along with the notion of any kind of original web series. Vimeo didn’t exist, nor did Tumblr. We had to learn and grow with our clients and our directors, and expand our conception of what was possible and what we as a company were capable of. The way we create and produce our work has grown tremendously.
3. How did you get your start in the business? I went to film school but moved over to start working for an extremely famous photo journalist–a war photographer. I was his assistant and went on to work for most of the news magazines (Time, Newsweek, The New York Times, etc) until I moved to California to pursue my dreams of filmmaking. After working for two years on a documentary as an associate producer (at 22 years old) I was grabbed fairly quickly by a commercial production company and was producing by the time I was 24.
4. What was the biggest challenge or obstacle you faced as you made your ascent in the industry? At the risk of sounding obvious, there were very, very few women in the business at the time. There were several top agency producers who shone above all, but mostly women were relegated to the traditional roles of account executives, receptionists, assistants at agencies. And on the production side you saw mostly hair and makeup, and script supervisors. All of the producers were men. The Directors Guild was practically devoid of women. I will say, though, that the people who guided me through the early years were mostly very strong women (and a few generous men) who taught me to use my brain always and to be willing to break the clock working, and to use that as my moral compass. They knew that I’d be on my way if I could endure. I’ll also say I had very little fear. And to give the right people credit, I was counseled by fearless women, that’s for sure.
5. What do you think would be the biggest challenge or obstacle if you were just starting out today? The biggest challenge, always, is to remember to tune in to how you really feel and not listen to other people’s fears. I was interviewed when we opened the company and someone asked me what most people were talking to me about – and my answer was how surprised I was at how many people told me how bad a time it was to start a company. It felt very dark. It’s always a good time to start something new! I think the biggest challenge and obstacle right now is the amount of competition and companies and directors readily available to ad agencies. On that note, it’s critical to know the marketplace fully and to find a way to be ahead of your own game. If you lead from behind, you’ll lose. If you simply chase after work and have no innovative spirit, entrepreneurial desires and the ability to develop not only new talent but work ahead of your highest level, you’ll fall way behind. Proactive is one of the most overused expressions but every day we have to think of ways to get our work out on the award circuit and in front of creative teams. If only done traditionally, the system will crack soon.
6. Would it be easier or more difficult (and why?) to establish yourself professionally and to attain your current role as an executive or leading creative or artist? This question is really dependent upon a person’s true skills. There are openings and opportunities for both. The two brains are so different, for the most part. And I think it’s a matter of having an authentic skill set. That will drive your direction in a clean, honest way. Plus, I’ll admit, I hate the idea of women pursuing executive roles only. It hurts my heart – as it did when I was rejected from the Cinematographers Guild as an intern because I’m under 5’7″. No joke.
7. Is there a shortage of women in the advertising and entertainment production community? Not anymore. I think the world is open and waiting for more women to step forward. I mean–there are huge risks. So there’s the “risk tolerant” part of owning a business. But there’s a long road ahead for many women before they even entertain the idea of owning anything. You start by owning your job. Plain and simple. When it comes to owning a company, there’s a lot at stake and on the line, so if you’re fearful, it might seem daunting. But not for lack of opportunity do women stand behind men.
8. If so, do you perceive this as a problem and why? I think what might be extremely helpful are more mentoring programs. I’d be happy to be or to lead one of them. I meet with women all the time, art directors and copywriters coming out of great advertising schools. And I interview for production and staff hires at my own company and I’m always hoping smart women will apply for the jobs. And they do. Get out there! Don’t be afraid! Make it happen for yourself. Because nobody will ever hand you anything wrapped in a bow. The same work ethics apply now as they did when I started.
9. And if so, how can the industry improve the situation? Again, I’m all for mentoring programs. I’m also for an agreement between the advertising agencies and production companies to hire women interns in starting positions to give people a boost. A non-binding but moral obligation, of sorts, would be amazing. I only wonder if it could be done? There certainly are head hunter recruiters in NY and LA who could help out in this department as well.
10. In what roles is the shortage most profound? Directors? Producers? Executives? Creatives? DPs? Editors? Post artisans? Music/sound? In that order? Definitely directors. Full stop. DP’s for sure; editors = yes. Those are really the key areas. Other arenas are more open, I believe. Speaking from covering enough territory in the vast landscape of advertising.
11. Are you married? Yes.
12. Do you have kids – how many, how old? Two children, 26 & 28
13. Can you share a poignant or funny “being a woman in a man’s world” story with us. I worked on a high-end car project in a remote town in the middle of California. I was in charge of waking up the crew because the motel wasn’t open for business yet as it was wintertime. There were bedbugs in the room so I taped my pyjamas shut with duct tape (gaffers tape) and overslept. When I awoke, it was about 8 minutes before we were supposed to roll out. So I ran to the propmaster and asked him to fire off some dynamite sticks in the parking lot of the motel, thinking I was so clever. He did. It rolled under the picture car and blew it up. The prototype. Disaster, to say the least. I think I was fired.
14. What’s the biggest challenge in balancing your professional and personal life? The amount of time I still need to log in working. It affects my home life although my husband has been making documentaries for over 25 years and understands my business and the demands. But I say “understands” in the gentlest way. Occasional couples therapy helps a lot, along with a ton of compromise and bringing my work home if needed. I balance it by doing as much as I can during the day, planning my weeks out smartly, and then doing my best not to mess it all up. That’s just the truth. It’s a very demanding job and there’s not much that can be done to lighten the load. Although I do master a good meal to make everyone happy and I sure throw a great weekend!
15. If you could have a do-over, what career would you pick for yourself? I love this question! I would have gone to the White House (as I was asked) and been a staff photographer for 15 years or so. Then gone back to school to study law. And then start a K-5 school in South America somewhere.
16. We all hope to retire some day. What do you want to do in retirement/where would you live? I can’t see ahead to retirement and I’ve never liked the word. I think staying active in life doing what you love isn’t retiring. It won’t bring the income the same way but I’d love to make films until I drop dead either on set or flying home from Borneo one day. Or teaching English as a second language somewhere in rural Argentina. Or Paris.
Leslie LaPage, president, founder/director, La Femme International Film FestivalPrimary Business: Creating opportunities and a platform for women filmmakers.
1. Do you own the company? If so, what year did you launch it? Yes. 2005.
2. If your business model has changed over time, please briefly tell us about it. Our business model was a 10-year plan to create a film fund for our women filmmakers , platform them in our festival and distribute their films worldwide.
3. How did you get your start in the business? I have a 20-year history in film and entertainment. I am a line producer, producer and director.
4. What was the biggest challenge or obstacle you faced as you made your ascent in the industry? Being a woman. The problem is that no matter how you slice it, women do not help women and men help but want something in exchange. Women need to learn team work so that we cannot be afraid to help each other. It is still a man’s world but it does not mean you cannot empower yourself and create a team that succeeds.
5. What do you think would be the biggest challenge or obstacle if you were just starting out today? Would it be easier or more difficult (and why?) to establish yourself professionally and to attain your current role as an executive or leading creative or artist? Most artists today have the attitude that if they see it, they can do it. But what they do not understand is that this business of entertainment is a craft, one you must study, devote thousands of hours to in order to make it and really be a leader in your art; your art of moving pictures. Remember that in the ’40s the studio system trained artists. They believed and made them experts in their field . We do not do this at all anywhere in the world. The craft is dying…We see a large number of filmmakers doing films for no money but they are really bad because they do not have training in film, story, direction or production. They get it done but at what cost; their soul and my time if I am looking at a very bad movie.
Here is a suggestion–all filmmakers should come sit during the screening process for a film festival and see all the bad films being made out there. That is educational.
6. Is there a shortage of women in the advertising and entertainment production community? If so, do you perceive this as a problem and why? Yes, there are very few women behind the scenes still today. Although we are gaining we are the minority. Very few DPs, grips, gaffers, producers, filmmakers, and writers. We are struggling and if we put our name to a script, it still better be a “love story” because the industry thinks that is all we can do. Which by the way, even though Kathryn Bigelow won the Academy Award, most females are still thought of as soft directors. We are relegated to soap operas and love stories. In advertising we are also under represented and when hired, forced to belittle the female image more so than the men.
7. And if so, how can the industry improve the situation? What steps can be taken to rectify such a shortage? Well first the old boys have to recognize there is a problem and then it needs to hit them in the purse since this is the only way to make action take place. But we as females need to hold on to the reins and stop being catty to each other and start helping our own. We need to step up and take charge; form companies, finance films, take the phone calls of other women asking for a meeting or help. Stop letting down our own kind! We need to ante up.
8. In what roles is the shortage most profound? Directors? Producers? Executives? Creatives? DPs? Editors? Post artisans? Music/sound? All of the categories are under represented and the guild for the most part handling the sound, grips, camera, costume, producers, directors do not feel there is a problem. In fact I was a member of a guild who did not want me to form a woman’s division because they felt we were fairly represented. The guild’s membership of women was less than 20 percent but somehow this was a fair equal amount in their book.
9. Are you married? Yes.
10. Do you have kids – how many, how old? One.
11. Can you share a poignant or funny “being a woman in a man’s world” story with us. I come home from a 15 hour shoot day, sweaty , tired and smelling like a wilted flower. It is 8 p.m. My husband and child, 3 at the time, are sitting eating Ritz crackers in front of a baseball game. Television for my husband, not our child, which is a different story. I ask what did you guys eat for dinner tonight. My child runs up to me and says “crackers!” My husband says, “well I thought you were going to have dinner ready tonight for us so I just waited.”
12. What’s the biggest challenge in balancing your professional and personal life? There is no balance. I shoot, produce and try to make it home to spend time with my son. After I put my husband and child to bed I go back to work. I would like to meet the woman who really balances her life while she is married , with children, and works.
13. If you could have a do-over, what career would you pick for yourself? This is my fate! I am an artist.
14. We all hope to retire some day. What do you want to do in retirement/where would you live? Go to an island and write novels under an umbrella watching my grandchildren play in the water.
Kathrin Lausch, executive producer/owner, Pink Pony Productions, NYC Ltd.Primary business: International content and transmedia production
1. Do you own the company? If so, what year did you launch it? Yes. 2001
2. If your business model has changed over time, please briefly tell us about it. I went from traditional commercial production to a crossover content production company, integrating new technology and media platforms as part of the content and entertainment value.
3. How did you get your start in the business? I am an entertainment lawyer from Europe and started Passport Films and then later Compass Films, bringing European commercial directors to the U.S.
4. What was the biggest challenge or obstacle you faced as you made your ascent in the industry? Evolving at the right speed. To be the second first seems better, the first usually burns, the second has a chance to be heard when it comes to “brand new.”
5. What do you think would be the biggest challenge or obstacle if you were just starting out today? Would it be easier or more difficult (and why?) to establish yourself professionally and to attain your current role as an executive or leading creative or artist? I think it all depends on what your comfort level is. Today technology is so much more a part of our business, if I would start again I would like to be a developer or engineer and create my own sites that then host content. Today it’s so much more about where the content ‘lives’ and how the user/viewer interacts and what kind of experience happens vs. a one dimensional experience and high end productions and production value. I think it is a bit of a ‘right brain and left brain combined world’ right now, aka the wild west. There is a lot of space to think outside the box and yet there are many new boxes some with hidden compartments that will get clearer shaped in the next years.
6. Is there a shortage of women in the advertising and entertainment production community? If so, do you perceive this as a problem and why? I think the numbers are changing but yes, there could be more women. I think the new generation is going strong, Yahoo was smart in hiring a pregnant woman and sending a new and strong message as in, just because we can have babies doesn’t mean we can’t run a company. I think women have to create more of a relationship with technology and not be afraid to push boundaries. There is a gut creativity that women have that can help add a lot of layers to a more male dominant tech field.
7. And if so, how can the industry improve the situation? What steps can be taken to rectify such a shortage? I think articles like this, events honoring women, mentorship programs, grants etc. help. For example L’Oreal’s Digital woman of the year award, the organization ‘Girls who code,’ a work environment that offers women the space to grow and learn.
8. In what roles is the shortage most profound? Directors? Producers? Executives? Creatives? DPs? Editors? Post artisans? Music/sound? I guess there are less females everywhere if looked at percentage wise. Maybe the creative side is more balanced?
9. Are you married? No.
10. Do you have kids – how many, how old? Not yet.
11. Can you share a poignant or funny “being a woman in a man’s world” story with us. I only have inappropriate ones that don’t make some guys look good, but let’s just say that I would give the advice to never underestimate a busy woman who has a plan.
12. What’s the biggest challenge in balancing your professional and personal life? Time….I could do anything with more time…
13. If you could have a do-over, what career would you pick for yourself? I would be a killer engineer, building one web platform after the other, tech is the new black, for the second time around.
14. We all hope to retire some day. What do you want to do in retirement/where would you live? Well… the vineyard in Spain or Argentina still has my name on it.
3. How did you get your start in the business? I went to film school at Brooklyn College, and I was a projectionist for my work-study job. Immediately upon graduation, I was recruited to become a technician for the department and then became technical director. A few years later, I was recruited by Jennifer Lawson, who is now at CPB, to come to work at The Film Fund, a nonprofit organization that raised funds to give grants to independent filmmakers for films on social issues. I stayed in the non-profit sector from then on, taking jobs with foundations and media arts organizations to help filmmakers.
4. Is there a shortage of women in the advertising and entertainment production community? If so, do you perceive this as a problem and why? Women are significantly under represented in behind-the-camera positions in both film and television. Only 18% of all directors, executive producers, producers, writers, cinematographers, and editors working on the top 250 domestic films of 2011 were women, according to the Center for the Study of Women in Television and Film. In a recent New York Times article, Melissa Silverstein recently wrote, “Women make up 51% of the population, but our stories don’t really seem to matter to Hollywood.” More women in positions of power as directors, showrunners and executives will mean more stories about women, which in turn will translate into more dollars for the industry.
5. And if so, how can the industry improve the situation? What steps can be taken to rectify such a shortage? First, studios, networks and filmmakers need to recognize that sexism exists in their industry. When you look around and see that all or almost all of your coworkers are men, that’s a call to action. Next, they have to make a serious, active commitment to find, develop and retain women in the industry. One good place to look is an industry organization like NYWIFT. But developing that talent is just as vital–women directors, writers, etc., have to be afforded the same opportunities that are given to their male counterparts. Finally, they need to implement practices that make it possible for more women to stay in the industry. One concrete solution is to make on-set daycare available for women (and men) working in both above-the-line and below-the-line positions.
6. In what roles is the shortage most profound? Directors? Producers? Executives? Creatives? DPs? Editors? Post artisans? Music/sound? Women’s under representation in the TV and film industries is especially pronounced in the directing role: Only 5% of 2011’s top 250 films were directed by women, says the Center for the Study of Women in Television and Film. While the Directors Guild of America found that women directed only 15% of TV episodes throughout 2011-2012.
EXTRA 7. Please tell us briefly how the NYWIFT organization helps women in film and television. New York Women in Film & Television has supported women calling the shots in film, television and digital media for 35 years. The preeminent entertainment industry association for women in New York, NYWIFT energizes the careers of women in entertainment by illuminating their achievements, providing training and professional development, and advocating for equity. NYWIFT produces over 50 innovative programs and special events annually. Its membership includes nearly 2,000 women and men, and it is part of a network of 40 women in film organizations worldwide, representing more than 10,000 members.
Lola Lott, president/owner/executive producer, charlieuniformtango and sister company Liberal Media FilmsPrimary Business: Creative editorial, postproduction and new media production.
1. Do you own the company? If so, what year did you launch it? I am 51% owner with Jack Waldrip as my partner. November 1995.
2. If your business model has changed over time, please briefly tell us about it. We started as a big brand creative editorial postproduction boutique but as internet content needs started growing along with budgets becoming smaller, we built a model that is able to produce good quality web and broadcast content, as well as short and long format work; including feature film work that some of our people write and direct. The reason for this model working so well is because as has always been our most important goal, we get talent first. Then having high end post in house, we are able to complement the production value with high-end postproduction, no matter the budget.
3. How did you get your start in the business? Started part time setting up their very first Apple 128K computer for a tiny production company that had a 3/4″ edit system attached.
4. What was the biggest challenge or obstacle you faced as you made your ascent in the industry? Being treated equally to other men in the business who were doing equal or lesser work.
5. What do you think would be the biggest challenge or obstacle if you were just starting out today? Would it be easier or more difficult (and why?) to establish yourself professionally and to attain your current role as an executive or leading creative or artist? It is interesting because I think about that often. While the barrier of entry into the post production business is much lower now than back 18 years ago; I’m not sure which is tougher. When we were starting our business you had to take a greater risk and make a greater commitment to get the funding in order to run a post company well. Back then you were competing with big mega post facilities; that was very intimidating. I feel we were one of the first to open up the boutique concept but also have specialized talent in the specific post categories; i.e. online/FX, graphics and audio. Now you might be able to open a post house with very little upfront funding but budgets can be smaller and very importantly there are a whole lot of distractions via YouTube, websites, social marketing that make it very hard to know, find and see real talent. There is a lot of clutter to wade through now.
6. Is there a shortage of women in the advertising and entertainment production community? If so, do you perceive this as a problem and why? There are more women now than 20 years ago but honestly I don’t know if this poses a problem or not.
7. Are you married? Yes, 29 years!
8. Do you have kids – how many, how old? Two girls, Laila 25 and Sophia 19
9. Can you share a poignant or funny “being a woman in a man’s world” story with us. This is a great story, not so funny but very telling. When I was trying to get funding to open charlietango, I applied to the SBA for a small business loan. I was asking for $200,000 to buy Avids, tape machines, Macs etc. Keep in mind these were the days when an Avid was $110,000 each. Also this was an organization in which I applied for a loan for my husband’s new business. While I was able to get the loan for my husband who was a novice in the particular category of work he was starting his business in, I was completely shut down. This is truly what happened. When I called to ask why I was being denied the loan, he said, “when we think of a woman-owned business needing a loan we are thinking in the category of $2,000 to open a floral shop or a card shop, not something technology related or this big.” I wished I had recorded that conversation.
10. What’s the biggest challenge in balancing your professional and personal life? To not work when I get home; with emails, Ichats, Facebook, Tweets, watching TV, Internet, it is almost impossible to not think about work.
11. If you could have a do-over, what career would you pick for yourself? I know my friends would say tennis pro since I am fanatical about the sport, but seriously I think a political career working on humanitarian issues in the Middle East would be so rewarding.
12. We all hope to retire some day. What do you want to do in retirement/where would you live? I would like to back to college and get a graduate degree and travel, travel. While Dallas has been a great city for my family, my business and me, I would like to live in so many other parts of the world.
For Women and Minorities in Production, Part III, click here.
For Minorities in Production, Part II, click here.
For Minorities in Production, Part 1 of Survey Responses, click here for respondents Carlos Guiterrez of Magnet Filmworks, Wendell Hanes of Volition Sound Recording, Malcolm Hardiman of Hack Studios, Eric Johnson of Trailblazer Studios, Jackie Lee of Company 3, Dora Medrano of Carbo Films, Jo Muse of Muse Communications, and Juan Pablo Oubina of Grupo Gallegos.
For Minorities in Production, Part 2 of Survey Responses, click here for respondents Bernanette Rivero of The Cortez Brothers, Elena Robinson of R/GA, Erika A. Salter of Salter Entertainment Group, LLC, and Paula Walker of Strato Films.
Hard as it may be to believe, changing the future of cinema was not on Mike Cheslik's mind when he was making "Hundreds of Beavers." Cheslik was in the Northwoods of Wisconsin with a crew of four, sometimes six, standing in snow and making his friend, Ryland Tews, fall down funny.
"When we were shooting, I kept thinking: It would be so stupid if this got mythologized," says Cheslik.
And yet, "Hundreds of Beavers" has accrued the stuff of, if not quite myth, then certainly lo-fi legend. Cheslik's film, made for just $150,000 and self-distributed in theaters, has managed to gnaw its way into a movie culture largely dominated by big-budget sequels.
"Hundreds of Beavers" is a wordless black-and-white bonanza of slapstick antics about a stranded 19th century applejack salesman (Tews) at war with a bevy of beavers, all of whom are played by actors in mascot costumes.
No one would call "Hundreds of Beavers" expensive looking, but it's far more inventive than much of what Hollywood produces. With some 1,500 effects shots Cheslik slaved over on his home computer, he crafted something like the human version of Donald Duck's snowball fight, and a low-budget heir to the waning tradition of Buster Keaton and "Naked Gun."
At a time when independent filmmaking is more challenged than ever, "Hundreds of Beavers" has, maybe, suggested a new path forward, albeit a particularly beaver-festooned path.
After no major distributor stepped forward, the filmmakers opted to launch the movie themselves, beginning with carnivalesque roadshow screenings. Since opening in January, "Hundreds of Beavers" has played in at least one theater every week of the year, though never more than 33 at once. (Blockbusters typically play in around 4,000 locations.)... Read More
Jennifer Golub, executive director of content, Let There Be DragonsPrimary Business: Content Development 
Samantha Hart, CCO/president, Foundation ContentPrimary Business: Indie advertising collective 
Phyllis Koenig, owner/executive producer, ๏ฟฝber ContentPrimary business: ๏ฟฝber Content is a film, commercial and original content production company which represents a diverse roster of directors who create a variety of films, from traditional broadcast commercials to fully integrated branded content, original web series, shorts, documentary and feature films. 
Leslie LaPage, president, founder/director, La Femme International Film FestivalPrimary Business: Creating opportunities and a platform for women filmmakers. 
Kathrin Lausch, executive producer/owner, Pink Pony Productions, NYC Ltd.Primary business: International content and transmedia production 
Terry Lawler, executive director, New York Women in Film and Television (NYWIFT)Primary Business: Entertainment industry association for women in New York. 
Lola Lott, president/owner/executive producer, charlieuniformtango and sister company Liberal Media FilmsPrimary Business: Creative editorial, postproduction and new media production. 
Bonnie Goldfarb, co-founder/executive producer, 